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Painting I see music making like painting, crafting a concept, through sounds and notes. Performing or Notating, experiencing the process, with single strokes or pieces with many variations. A short Motif, or a long complete piece. Groups of work embody the whole variety, whilst single pieces work equally as well. I'm proud of my own art, I will continue to develop it. Through daily sittings, I find new exciting ways to create a problem, which transforms into a song. The piece feels complete when it is equally vulnerable to interpretation and states a strong emotive energy.
Reacting Performing a painting live doesn't make sense, you can either playback a variety of pieces in an order that suits the thing at hand, or re-create the idea of the piece with musicians. I seem to be more fixated on the process of painting itself, so perhaps for me, the musicians will have to take a back seat. A half half approach doesn't seem to interest me, and the appointment of several live controllers is personally a bit ehhh. Re developing the main Motif's of each piece however has recently caught my attention. Taking purely the patterns and tones of individual concepts, and performing a re-sequenced and newly voiced variation live, seems to be a healthy way to step outside of the personal space of the studio, and draw similar reactive characteristics to a loud room with several people. Letting the patterns run freely with an element of chaos, I simply show the reactive side of trying to organise the stream. I'm currently mucking around with this one, or should i say, trying to stomach this one into an actual thing.
Interviews |